Basko Believes, real name Johan Örjansson, is a Swedish singer-songwriter who took it upon himself to tap into his lifesavings and head out to Denton, Texas in order to record latest album ‘Idiot’s Hill’. With musicians willing to offer their services from the likes of The Polyphonic Spree, Israel Nash Gripka and Midlake, Basko Believes has created an album that nestles in the category marked Americana but at the same time allows for other influences consisting of soul, pop and indie guitar rock. Take the epic qualities of the inch perfect ‘The Waiting’; a song that steadily builds and seemingly grabbing an extra instrument along the way to add to the layers of narrative that is full of nostalgia and convincingly told by Basko Believes, who is a mixture of Van Morrison and Ray LaMontagne. There is a great tenderness at the centre of this latest album, but it is one that also draws on various anxieties as depicted by the song ‘Wolves’. While the majority of this album delights in a variety of ways it is the shimmering guitar beauty of ‘Lift Me Up’ and the letter of regret posted to one’s former dwelling rather than the act of physically travelling during ‘Going Home’ with its delicate rhythm of guitars and strings that sets up Basko Believes as a force to be reckoned with.

A culmination of Scandinavian neighbours – Swedish and Danish to be precise – joining forces to carve out the largely blues influenced, with moments of rockabilly, that is ‘Artificial Natural’. Starting in fine fashion is the authentic rockabilly-blues of ‘Wrong Doing Woman’, which picks up a steady pace before letting the apron strings fly with some red-hot guitar that is equally complimented by the interesting spin of the narrative with the central protagonist being female (for a change) and possessing an unhealthy love affair for deviant behaviour. Elsewhere, ‘Hook, Line and Sinker’ plays a game of cat and mouse to a lively tempo and drawing more on a straight blues influence. There is humour present with ‘She’s So Skinny (She Can Hide Behind A Fishing Line)’ that is also a reflection of the changing nature of the generational eras that suggests a big difference in terms of the one these Kokomo Kings reside in mentally, and the one they actually find themselves in. Such a theme is taken up once more with the title track ‘Artificial Natural’ that finds the aptly-named Harmonica Sam severely scratching his cranium in a bewildered state due to an increasing trend for cosmetic enhancement. The charm offensive of ‘Charmageddon’ opens the door to rock ‘n’ roll, as it’s a riotous affair of guitars and harmonica with a flair for dark humour, “She’s so evil, she’s banned from hell”. A chance discovery, The Kokomo Kings ‘Artificial Natural’ is a thrilling ride of rockin’ blues with aspects of rockabilly and rock ‘n’ roll, and one that is extremely perceptive of the changing nature of modern society as the band’s wicked sense of humour reveals. There is nothing artificial to report when it comes to The Kokomo Kings.

Returning with a fresh set of country rock ditties from the Norwegian county of south Trøndelag, Bøgdabråk has steadily built up a name for themselves on the live circuit, as well as maintaining their roots with the traditional ‘trønderfest-culture’ that is particularly special to the inhabitants of Trondheim and surrounding areas. With two albums already behind them, Bøgdabråk release album number three ‘Gå som det her’ which consists of eleven tracks delivered in specific dialect from the band’s main region. Central to the creative compositions of this latest album is vocalist Leif Inge Hopstad, who has not only penned all of the songs but contributed production duties as well with producer Tony Waade. The end result is an album with energy in abundance as clearly displayed by the driving opener ‘Han der’ (‘Him There’) and ‘I kveill’ (‘This Evening’); the latter of which packs an addictive chorus and the perfect accompaniment of female backing vocals and fine guitar work that sees Bøgdabråk clearly enjoying themselves. The Bøgdabråk tempo is taken down a notch during the ballad ‘Håp’ (‘Hope’) and exquisite delivery of ‘To på natt’ (‘Two At Night’) that finds Leif Inge Hopstad in superb form vocally. The energetic and catchy guitar thrust of ‘Vinterland’ (‘Winterland’) and equally matching ‘Sånne Kara’ (‘Kind Kara’) are good enough to grace a Tom Petty album, if ever the need arises, because Bøgdabråk have a knack of churning out memorable, hook-laden country rock songs that reside long in the memory bank once ‘Gå som det her’ has ceased playing. Catch the band live on their forthcoming tour in support of this inspiring new release as Bøgdabråk cannot fail to disappoint considering the overall quality of ‘Gå som det her’.

Discovering ‘Out Among The Stars’ was definitely the equivalent of striking oil for the first time during the Gusher Age in Texas in the early 1900s. The reason for such enthusiasm marking this latest discovery of forgotten Johnny Cash studio recordings is for the simple reason that the twelve songs listed (track thirteen being a remix) here have never been released before, making this album a brand new product rather than a rehash of previously released material with the usual bonus additions of demos, outtakes and alternate versions. The songs making up ‘Out Among The Stars’ were originally recorded in Nashville in 1981 and 1984 with Billy Sherrill controlling production and contributions by way of June Carter Cash with ‘Baby Ride Easy’ and ‘Don’t You Think It’s Come Our Time’, as well as Waylon Jennings lending vocals to Hank Snow’s ‘I’m Movin’ On’. The discovery itself is credited to John Carter Cash – the son of Johnny Cash – who happened to chance upon the songs in the vaults of Columbia Records after many years of neglect until now. Indebted for this wonderful find, ‘Out Among The Stars’ is a solid body of work and a welcome addition to the musical legacy left by Johnny Cash.

Norwegian west coast artist Orbo (Ole Reinert Berg-Olsen) reappears after a few years away with a four-track EP ‘Man O’ War’. Serving as a prelude to a full album release in September this year, ‘Man O’ War’ is the first collection of songs to make use of the English language since the critically acclaimed ‘Prairie Sun’ in 2010. With the promotional banner declaring the Orbo sound as genuine handmade rock ‘n’ roll, and this being a fair description considering the man behind the moniker Ole Reinert has written the entire contents and played a large hand in the production along with band member Reidar F. Opdal, there is definitely more than a hint of Americana, however, regarding the four songs making up this latest EP. First track ‘Deadlock’ sets the wheels in motion, bringing to mind the alt-country rock sound of Tom Petty with its acoustic guitar and pacey rhythm that has an immediate appeal set against an intriguing narrative concerning the alluring qualities of the opposite sex, but beware the honey trap. The mood is reflective during ‘Time To Move On’ with the lead vocal really claiming the song, set to a more restrained beat including piano that works accordingly while the song laments a relationship that was doomed from the start. There is much to enthuse over with the tender ballad of ‘Sleep Through The Night’ which sets up the grand finale of the title track appropriately as ‘Man O’ War’ genuinely gives the impression, by way of its rhythm section, of the initial steps of a journey that has set sail for a distant horizon of its own choosing before reaching its destination via some red-hot guitar. Judging by the consistency and quality of all four tracks making up ‘Man O’ War’, September looks set to be an important month in the Orbo calendar.

With a growing trend for a pop country crossover, latest addition to this style is Siri Vølstad Jensen with her debut album ‘Coming Home’. Remarkably, this first outing is a product of Norway when, in fact, its contents sound a far closer relation to the country sounds emanating from Music Row in Nashville. Full marks, however, for the convincing sounds on display, which has been a lengthy process in the making and one which actually took in the sights and sounds of Nashville for a period before making a return home. With the trade secret therefore out in the open, the end product is one that is skilfully handled and once more utterly persuasive in the vocal department as ‘Burn Baby Burn’ blends a bit of the traditional country via Dolly Parton with its modern sisters the Dixie Chicks. Title song, ‘Coming Home’ leans on a more conventional country style, with acoustic guitar and strings and Siri Vølstad Jensen sounding beyond her tender years with the only giveaway being a slight vulnerability to the vocal during the chorus, that actually works in her favour due to the sincerity of the emotions expressed. This openness given by Siri Vølstad Jensen extends to ‘Whatever It Was’ and, in the process, proves to be one of the strong points of the album that once more calls for a bit of old-style country while retaining one foot in the present. The pop tendencies are more present in the up-tempo ‘Let Love’ but still not quite to the extent of Taylor Swift’s ‘Red’, for example, due to the heavier weighting of stringed instrumentation wonderfully paraded by the ballad ‘Almost You’. ‘Coming Home’ is the first landmark in the musical career of Siri Vølstad Jensen, and it is one that will prove to be a major step for this country songstress from Norway such is its overall quality.